Crime Fiction at the Time of the Exhibition: the Case of Sherlock Holmes and Arsène Lupin David Drake Université Paris VIII Synergies Royaume-Uni Royaume-Uni Summary: In July 1905, the new monthly Je sais tout (I Know Everything ) carried the first short story, written by Maurice Leblanc, featuring the gentleman- burglar Arsène Lupin. Lupin’s appearance and early adventures coincided with pp. 105-117 pp. the huge popularity which Sherlock Holmes, already the most popular figure in et detective fiction across the Channel, was enjoying in France. This accompanied Irlande the publication in French in the early years of the century of many of the Holmes stories. In the tale, ‘Sherlock Holmes arrive trop tard’ (‘Sherlock n° 2 Holmes Arrives Too Late’) published in Je sais tout in June 1906, Leblanc staged an initial encounter between Lupin and Sherlock Holmes. Holmes, now called - 2009 Herlock Sholmès after threats from Conan Doyle’s lawyers, again clashed with Lupin in two tales which appeared in Je sais tout in 1907/1908, and were published in February 1908 as a book entitled Arsène Lupin contre Herlock Sholmès. (Arsène Lupin contre Herlock Sholmès). The two men confronted each other once more in L’Aiguille creuse (The Hollow Needle), serialised in Je sais tout between 1908-1909 and published in book form in June 1909. This article analyses the reasons for the huge popularity of the Holmes stories in Britain and shows how Holmes and Conan Doyle were used to promote Lupin and his creator in France. It then argues that the encounters conceived by Leblanc are part of a pre- established tradition of cross-referencing in crime writing. It concludes by suggesting that Holmes, the English consulting detective, and Lupin, the French gentleman-burglar, have more in common than might be thought. Keywords: Sherlock Holmes; Arsène Lupin; Arthur Conan Doyle; Maurice Leblanc; Je sais tout; the Strand Magazine. Résumé: En juillet 1905 fut publié dans la nouvelle revue mensuelle Je sais tout la première nouvelle écrite de la main de Maurice Leblanc où figure le gentleman- cambioleur Arsène Lupin. Cette entrée en scène de Lupin ainsi que ses premières aventures apparaissent à un moment où Sherlock Holmes, déjà le personage du roman policier le plus connu outre-Manche, jouissait d’une grande popularité en France suite à la publication en français au début du siècle des nouvelles du détective privé anglais. Dans la nouvelle ‘Sherlock Holmes arrive trop tard’, publié dans Je sais tout en juin 1906, Leblanc met en scène une première rencontre entre nos deux hommes. Sherlock Holmes, désormais nommé Herlock Sholmès suite aux protestations de la part des avocats de Conan Doyle, et Lupin devaient s’affronter de nouveau dans deux nouvelles parues dans Je sais tout en 1907/8 et qui seront publié en février 1908 dans un livre intitulé 105 Synergies Royaume-Uni et Irlande n° 2 - 2009 pp. 105-117 David Drake Arsène Lupin contre Herlock Sholmès. Les deux protagonistes se confrontent encore une fois dans L’Aiguille creuse publié en feuilleton dans Je sais tout entre 1908 et 1909, puis intégralement dans un livre en juin 1909. Au cours de cet article, nous examinerons les raisons du succès de Holmes en Angleterre et nous démontrerons comment Holmes et son créateur Conan Doyle ont été utilisés pour promovoir Lupin et Maurice Leblanc en France. L’article démontre ensuite que les rencontres Lupin-Holmes/Sholmès imaginées par Leblanc font partie d’une pratique de regards croisés déjà utilisée par d’autres auteurs de romans policiers. En conclusion, nous verrons que Holmes le détective privé anglais et Lupin, le gentleman-cambrioleur français, ont plus de points en commun que l’on n’aurait pu penser à première vue. Mots-clés: Sherlock Holmes; Arsène Lupin; Arthur Conan Doyle; Maurice Leblanc; Je sais tout; the Strand Magazine. By the time of the Franco-British Exhibition of 1908, crime fiction was well established both in France and in the Anglo-Saxon world. The late 1820s saw the publication of the Mémoires of Eugène-François Vidoq, the criminal turned head of the French detective force la Sûreté.1 The next significant development was the publication of three short stories ‘Murders in the Rue Morgue’, (1841), ‘The Mystery of Marie Rogêt’ (1842) and ‘The Purloined Letter’ (1844), written by Edgar Allan Poe, featuring the private detective C. Auguste Dupin, which laid the foundation stones of modern detective fiction. Poe, an American who was educated at Dulwich College in south London, as was Raymond Chandler, the creator of private eye Philip Marlowe a century later, set his tales in Paris; his knowledge of Paris was, however, scant indeed since in ‘The Mystery of Marie Rogêt’, he has sassafras grass growing on the banks of the Seine. (Poe, 1968 (a): 443) In England in 1868, Wilkie Collins made an important contribution to the genre of crime fiction with The Moonstone, while his good friend Charles Dickens was boosting the reputation of the British bobby through his accounts of the time spent out on patrol with London policemen,2 which led to his being described as ‘the first major publicist for the police detective’.3 It was Dickens who, with Inspector Bucket in Bleak House, introduced ‘the first significant detective in English literature’. (Steinbrunner & Penzler, 1976: 124) Meanwhile in France from the mid-1860s, the works of Émile Gaboriau, featuring his detective heroes Inspector Lecoq and Père Tabaret, were enjoying huge popularity. Gaboriau, like Collins and Dickens, was fascinated by police work and the translation into English of Gaboriau’s tales brought the detective story to a wider audience than ever before in the period between The Moonstone and the first appearance of Sherlock Holmes and Dr John Watson in A Study in Scarlet in 1887.4 Given Holmes’ huge popularity in both France and Britain at the time of the Exhibition and the hope in France that Lupin would emulate Holmes, a brief examination of the Holmes phenomenon at the end of the nineteenth and beginning of the twentieth century is called for. Although A Study in Scarlet was published in 1887, fame eluded Holmes’ author, Arthur Conan Doyle, until the publication of six short stories in the Strand Magazine between July and December 1891. Although Conan Doyle 106 Crime Fiction at the Time of the Exhibition: the Case of Sherlock Holmes and Arsène Lupin considered himself to be a serious historical novelist, he nevertheless agreed to write another six stories, which the Strand Magazine published in the first six months of 1892. All twelve appeared later in the year in book form as The Adventures of Sherlock Holmes.5 The success of the Holmes short stories was overwhelming; each month queues formed at the news-stands on the day that the Strand Magazine was due to appear, and, as one biographer of Conan Doyle has noted, ‘No fictional character had ever become so universally known in such a short space of time.’ (Booth, 1998: 145) It is beyond the compass of this article to explore in detail the reasons for Holmes’ extraordinary popularity but we can note Conan Doyle’s ability as a storyteller6 and his decision to make each of the stories one of a series of self-contained tales featuring the same two main characters. Thus readers buying a copy of the magazine were sure that they would have access to a complete story, unlike a serial where if they missed an issue they were likely to lose the thread of the plot. Another factor was the relationship between Holmes and Watson. This was clearly inspired by Poe’s Dupin and his nameless narrator companion, but fleshed out by Conan Doyle to give it a deeper human resonance. If Holmes, described by Watson in the first short story as ‘the most perfect reasoning machine the world has ever seen’ (Conan Doyle, 1999:5), offered readers a tantalising taste of genius combined with bohemian independence, the sensible, generous, kind and above all loyal and decent Watson displayed qualities to which Conan Doyle’s mainly middle and lower-middle class readers aspired. Furthermore, Conan Doyle was helped by a convergence of socio-economic factors. The market for newspapers and magazines was booming in the last quarter of the nineteenth century: the cost of paper had fallen thanks to imported wood-pulp from Scandinavia and Canada; printing presses were more sophisticated and ran faster; the 1870 Education Act (Forster’s Act) had resulted in a huge increase in literacy while reduced working hours introduced the notion of ‘leisure time’. More people could read, more people had time to read. Conan Doyle (and others) gave them material to read. And read they did. Not just at home but also, importantly, travelling to work on the underground and commuter trains. Despite Holmes’ phenomenal popularity, Conan Doyle soon began to tire of Holmes. As early as November 1891 Conan Doyle had written to his mother saying that he was planning to kill him off but initially refrained from doing so in response to her protests. However, in ‘The Adventure of the Final Problem’, published in December 1893, he did dispose of Holmes by having him plunge into the Reichenbach Falls in the clutches (literally) of his deadly enemy Professor Moriarty. Holmes had finally become too much for Conan Doyle who in 1896 wrote of his creation, ‘I have had such an overdose of him that I feel towards him as I do towards pâté de foie gras, of which I once ate too much, so the name of it gives me a sickly feeling to this day.’ (Booth, 1997:243) People had come to believe that Holmes was a real person and Conan Doyle was receiving more and more mail addressed to Holmes forwarded from Scotland Yard, the Strand Magazine and the post office in Baker Street.